Recording : New for Now Vol. 2 Clarinet - Dominion
S-69004 performed by Avrahm Galper

Musical Source: Original

Duration: 3:10

Range:

Level: Medium Easy

Musical Features of the Repertoire

This rondo, written in a traditional, classical style, is musically
derived from its beautiful song-like melody. Its long lines, based
on triadic shapes, flow continuously throughout each section.
The tempo is marked andante, and expressiveness is allowed
due to the many poco ritards at important phrase endings.
The A flat major tonality journeys into E flat major and F minor
during the contrastingsections. The accompaniment supports
the legato clarinet line in a simple chordal style. The importance
of the melody is established and maintained by the pianos
melodic introduction and interludes. Thus the simple elegance
of the piece and the value of the work is enhanced.

Technical Challenges of the Clarinet Part

One of the more challenging aspects of this piece is breath
control. The phrases are, generally, two measures in length which
demands more air because of the moderate tempo. There is one section,
in G minor, which employs staccato tonguing. This also requires
more air, especially as it is in the chalumeau register. There
is movement around the lower break in the rondo theme and in other
melodic passages.

e.g.

The player must maintain a consistent air stream in order to
execute these lines in the legato style. Finger co-ordination
is challenging because of the triadic nature of the melodies.
Co-ordination of fingers is also important for the leaps that
are greater than a fourth. Intonation may be harder to control,
particularly around the throat notes, because of the disjunct
style of the lines. Securing clear mellow tone colour may be more
difficult in the clarion register. The embouchure must remain
focussed in order to keep the sound from becoming too bright or
shrill. This is vital when there are wider, upward leaps into
the higher clarion register.

Use of the Musical Qualities of the Clarinet

The lyrical quality of the clarinet is explored mainly throughout
the clarion register. The contrasting sections, within the rondo,
are intensified with differing dynamic levels. The clear, mellow
tone expresses the melody through a continuous legato style which
is the essence of the work.

Benefits to the Student

The melodic style of this piece lends itself to expressive
interpretation. This is a valuable skill for the student to learn
in a musically accessible way. Studying this music, and learning
to perform it as a solo, would be rewarding.

The Minuet is written in ternary form with a light triple
meter. In the A sections, the phrasing is interrupted by one measure
of a piano interjection intime.
The Gigue, written intime,
is a busysounding piece consisting of continuouspatterns. The piano maintains this
style by interplaying with the clarinet line. In the Minuet,
the accompaniment helps to create the light, detached style
and embellishes the melodic line. Both dances modulate between
C major and D major respectively and their relative minor keys.
Other tonalities are used briefly. While the Minuet has
a very melodic style featuring triadic themes, the Gigue
emphasizes the idea of an interval of a second in almost every
pattern.

Technical Challenges of the Clarinet Part

Each dance exhibits its own difficulty for the player. The
Minuet demands staccato tonguing which requires more air.
In the Gigue, the articulation is mainly legato. However,
the faster tempo in the Gigue, and the keys involved, create
problems for fingering. The main tonalities of D major and B minor
in the clarinet part require the use of several clarinet keys,
particularly around the lower break. These patterns need full
air support to maintain the smooth line. Meticulous finger co-ordination
is required because of the many triadic figures. The Minuet
has a disjunct style featuring various intervallic leaps. The
speed and the length of the line demand a steady embouchure and
quick finger movements. Both dances feature much movement around
the lower break, with frequent arpeggiated figures. These require
careful attention to intonation as an even, scalar balance is
difficult to maintain in this area of the clarinet.

e.g.

The main tonality of the Gigue creates a brighter clarinet
tone which must be kept mellow for the style of the piece. In
the Minuet, care is needed to keep the tone from becoming
piercing in the louder sections which are played in the clarion
register.

Use of the Musical Qualities of the Clarinet

As a unit these dances display certain musical features of
the clarinet. Dynamic contrasts create interest in the Minuet
as each of the three sections has its own general dynamic range,
moving from mf to pp to f. The Gigue opens
with a brief unaccompanied section for clarinet, allowing the
instrument to introduce and project the contrasting nature of
this second piece. The Minuet uses an accented and detached
style of articulation while the Gigue employs smooth finger
movement to ensure that the busy driving rhythm is felt.

Benefits to the Student

The performance of these two dances enables the student to
deal with contrasting styles and a piano accompaniment which is
complicated and intricately woven with the clarinet line. Playing
the solo at the start of the Gigue requires the student
to set the tempo and style of the dance and to play confidently.